Nov 25, 2008

Salò or the 120 Days of Sodom was Italian film director Pier Paolo Pasolini’s last work before his murder by a male prostitute. The circumstances surrounding Pasolini’s death are dubious and make one wonder if Salò had anything to do with artistic genius’s disappearance from the world forever. The film is based on the book The 120 Days of Sodom by Marquis de Sade. Pasolini adapted the novel for the fascist period in Europe during the 1940s. Through explicit and almost unbearable imagery, Pasolini gets his point across about the degradation of the human body by the fascist state.

The title Salò is taken after the fascist state that Pasolini’s brother Guido was killed at in an ambush during the second World War. The significance of the title alone makes one wonder if Pasolini ever got over the death of his brother. I also believe that it would be fair to say that Pasolini believed fascism to be the main culprit in his brother’s death. Salò is a film that presents human beings as merely objects for manipulation and torture for by the fascist state. Like those young individuals featured in Salò, Pasolini must have felt his own brother was worthlessly sacrificed for the fascist state.

A theme prevalent throughout Salò is the destruction of the family so that the state can take ownership over the individual. One girl in the film cries for her own death as she prefers the conclusion of her life over being deflowered by fascists. Her mother was killed trying to save her and she no longer wants to go on living. A fascist leader merely laughs at her and tells her that her suffering only makes him happier. The United States government has also done a great job destroying the American family. ShabbosGoy puppet and president Barack Obama intends to further the dissolution of the American family with his new “Zero to Five” big brother plan. The point of this plan is to indoctrinate child at birth with lies about “tolerance” and “altruism” so that they don’t have to wait till kindergarten. After all, the gate keepers don’t want children learning about individualism or respect for self. That would be against international banking and neo-Bolshevik interests.

The young people that are raped and tortured in Salòare objects of the state and can do nothing about it. The fascist leaders are obsessed with “deflowering” their young victims as they want to officially taint them. What good are slaves if they haven’t had their morale broken first? The fascist leaders do what they do because they desire power. They desire power due to their inability for sexual release as demonstrated by their many acts of perversity. Whatever sexual act they engage in, they are never fulfilled. This forces the leaders to get more deranged with sexual desire until their victims are left dead.

Rumor has it that Adolf Hitler enjoyed being peed on by his young niece GeliRaubal. Whether this is true or not is questionable, but one of the fascist leaders featured in Salò surely enjoys it. Also the fascist leaders featured in the film take upon themselves to dress in drag before they have a gourmet buffet of shit. It is arguable that Nazi leader Hermann Göring was a transvestite. Nazi minister of propaganda Joseph Goebbels made no lie about his annoyance by Göring’s effeminate behavior in is his 1945 diaries. Pier Paolo Pasolini makes it clear that the archetypical fascist was not someone that was into traditional sexual activities.

Of course, being a homosexual, Pier Paolo Pasolini was also not into ordinary sex. One fascist leader in Salò states, “The act of the sodomite signifies the death of the human species.” Pasolini was not a man that hid his thoughts in matters even if they conflicted with who he was. The sodomite fascist leaders make it clear in Salò that they will defile and destroy all beautiful human beings. Incapable of reproducing, they do the opposite and destroy. Another sinister looking fascist that goes by the title “the president” states, “when one prefers men, it is difficult to change one’s perspective. The difference between a boy and a girl is enormous. We cannot consider one that is obviously inferior.” Hence, the idea of the aesthetically pleasing Aryan superman.

All victims featured in Salò also become conspirators amongst one another in the fascist state. Out of fear and desperation, each individual caught committing a “crime” against the state confesses another victim’s crime. After a girl is found with a photograph of a boy by a fascist leader she cowardly tells on two girls that engage in lesbianism. The two lesbian girls tell on a fascist guard who practices miscegenation with a Negro servant girl. Like many loyal fascists, the race defiler salutes his murderers to the very end. The fascist state has completely destroyed all forms of individualism.

Although the Bolsheviks (and their international proteges) were clearly responsible for more suffering than any group in human history, the fascist world of Salò metaphorically champions the sadistic Marxist world. Pier Paolo Pasolini, an Italian communist, never made any lie when criticizing Marxism so naturally fascism was an easy target for the late director. Salò is a work so graphic and morally depraved that it encourages the viewer to be completely demoralized by it’s conclusion. None of the sex featured in Salò is erotic nor are any of the deaths “cool.” Salò ends with the fascist leaders watching torture via binoculars inside a comfy mansion room. This scene emphasizes the sick voyeurism the viewer engages in safely through their private television set. The viewers have disassociated themselves from the horrors of the film just as many fascist (and allies) leaders did during the second World War.

Soiled Links

About Us

SS is a postmortem Occidental Sinema site led by two admittedly vicious Nordish libertine cinephiles. We ruthlessly, yet charmingly rip at the bowels of the prissy populous PC-beast; offering the more discerning reader a piece of our eclectically refined minds and our uncompromisingly distinct weltanschauungs. At Soiled Sinema, we believe in cinematic diversity and equal-opportunity film criticism. Do yourself a favor by allowing us to gouge at your Hollywood-lobotomized gray matter, as we have a pleasant plethora of svelte and seminal writings on films we have come to wholeheartedly and fanatically cherish, as well as expertly diagnosing loathsome cinematic abortions worthy of total celluloid deterioration.